5 of 5 people found the following review helpful:
4.0 out of 5 stars
Wonderful Insights....Required for all aspiring playwrights, December 10, 2000
By A Customer
This review is from: Edward Albee: A Singular Journey: A Biography (Hardcover)
I'm amazed at some of the one star reviews for this book. (Well, maybe not that amazed. Anyone concerned over whether Elaine Stritch or Carol Burnett won a Tony might best spend their time under a hairdryer reading Cosmo rather than a serious book like this.) Gussow, courtesy of his friendship with Albee, provides priceless insights into the source of many of his works, how they spring from his life, his relationship with his mother. He is even handed in evaluating Albee's plays, carefully explaining why many of his plays failed to please critics and audiences. Albee has been candid with Gussow, and his candor is of great value to aspiring writers. We see the links between personal life and artistic creation. This is a MAJOR study of an important playwright, required reading for all serious theatre folks. The one complaint: Gussow's closeness with Albee, while never seriously compromising the book, does make one sense kid gloves being used from time to time. That aside, this is a riveting look at one writer's life.
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3 of 3 people found the following review helpful:
4.0 out of 5 stars
Edward Albee: A Singular Journey (Wr. by Mel Gussow), May 20, 2002
This review is from: Edward Albee: A Singular Journey: A Biography (Hardcover)
Albee, the playwright of "Who's Afraid of Virginia Woolf?," and other plays, is given a deluxe biographical treatment here from a writer who has known him for almost forty years...and sometimes worships him a little too much.
Albee was adopted by a wealthy, yet emotionless set of parents. His father, Reed, was absent, and his mother, Frankie, was cool and detached. This upbringing, where he was seen more as a possession than a family member, would of course affect his writings. Constantly kicked out of schools, and never graduating from college, Albee turned to writing, his first success being "Zoo Story."
"Zoo Story," a short play about a fateful meeting of two men in a park, received mixed notices from assorted playwrights and critics. Here, biographer Gussow overextends his protection of his subject too much. He dismisses the honest critiques of two playwriting giants- Thornton Wilder and William Inge, because they did not understand or like Albee's works. However, a bland positive response by Samuel Beckett is treated like a Dead Sea Scroll, to be picked apart and treasured. I have read "Zoo Story," and it is wordy and preachy.
Albee's next big success was "Who's Afraid of Virginia Woolf?," which was turned into a powerhouse film by Mike Nichols. Again, Gussow is flagrant in his criticism of someone involved with the film in order to placate Albee, and here, Nichols. The film's screenwriter, Ernest Lehman, is harshly criticized for opening the play slightly, yet just copying Albee's play. The bio's author, and Albee, make a point of needling Lehman's screenwriting credit on the film. Yet, Elaine May copied the French film "La Cage Aux Folles" word for word, adding what could be described as copious scenes at best, then took a big giant screenwriting credit for Nichols' "The Birdcage." Watch both films back to back sometime, it is eye opening.
Gussow also fumbles in his outline of Albee's life. In Albee's less successful years, he is writing weird experimental plays with subjects like a man with three arms, and one play where two of the characters are sea creatures. After mounting all of these failures, Albee is defended endlessly by Gussow, who suddenly contributes an entire chapter about Albee's alcoholism. The alcohol is both a reason his plays were not celebrated, and a defense of the brilliant man.
The entire beginning of the book chronicles the complete lack of love Albee's parents had for him, yet the death of Albee's father is glossed over, barely mentioned. I had to reread the sentence a few times, since no followup is made about Albee's reaction. A whole chapter is devoted to his mother's demise, and her revenge on her own son in her will. More is written about one of his former lovers and honest critics, a frustrated musician. This "A Star is Born" redux is written about nicely.
Gussow does do well in describing Albee's assorted forays into theater, as playwright and director. Dirt about Donald Sutherland and Frank Langella is dished around. The bio's author is honest in Albee's lacking skills as a director, coming to the theater as a playwright and not an actor.
Albee, who prefers to be called a writer who is gay, as opposed to a gay writer, also has kind words for his longtime partner of over twenty years. Albee says a gay writer writes about being gay, whether the work is good or not is moot, since the writer knows the subject and is putting in the final word. A writer who is gay is not tied down to just homosexual topics, and is free to explore society without audiences looking for gay subtexts that do not exist. "Who's Afraid of Virginia Woolf?" is a seering look at two heterosexual couples, the sexuality of the playwright is nonessential in light of his characters and their actions.
Gussow wisely keeps talk of Albee's lesser known plays, and the ones readers probably have not read anyway, to a minimum. Albee's triumphant comeback play, "Three Tall Women," is covered extensively. The play is about his mother, and so much more.
Reading this biography will make you curious to seek out some of Albee's other plays, just to see what makes him tick. Over seventy now, he is definitely an interesting man, and Gussow does catch that fact better than anything.
I recommend this book to theater lovers, and any writer who needs a little inspiration.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
One of the best theatrical biographies I've read, August 16, 2002
With all due respect to Tennessee Williams, Arthur Miller, Lillian Hellman and William Inge, Edward Albee is the most important American playwright to emerge since Eugene O'Neill. I don't say best because "best" is too subjective a term to be applied to the arts. Albee is important because of the influence his work has had on playwrights such as Arthur Kopit, Sam Shepard, John Guare and David Mamet. Mel Gussow has produced an indelible portrait of this artist. One revels in Albee's current success - The Tony Award for "The Goat or Who is Sylvia?" and a Pulitzer Prize for "Three Tall Women." However, what Mr. Gussow's biography illustrates brilliantly is that Albee hasn't staged a "comeback." Indeed, Albee never went anywhere - it was the audience and the critics that abandoned Albee. Throughout the past forty years Albee has continued to produce masterful plays - award winning plays - "A Delicate Balance," "All Over," "Seascape" and "The Lady from Dubuque" - plays which are finally gaining the recognition and stature they deserve.
The personal story is here as well. Albee was adopted and raised by people who were emotionally aloof to the needs of a gay adolescent. The relationships with Terrence McNally and Jonathan Thomas (his companion for the past thirty years), friendships with John and Elaine Steinbeck, Carson McCullers, William Flanagan, Alan Schneider and all those leading ladies from Uta Hagen, Colleen Dewhurst, Jessica Tandy and Irene Worth to Marian Seldes, Rosemary Harris, Elaine Stritch and Maggie Smith. The story of how the Pulitzer Prize board denied him the honor for "Who's Afraid of Virginia Woolf?" even after the prize jury had voted unanimously for the play. It's all here - warts and all - best of all is the happy ending.
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